The Robe

, contemplative expression, with finely modelled facial features and the classic ushnisha topknot Draped robes

bodhisattva. The figure wears flowing robes with well-defined folds and a high topknot hairstyle, typical of

mid-20th century. One depicts two armed warriors in profile, the other shows three robed figures in a

, harnesses, and decorative embellishments, while human figures are adorned with intricate robes and

wandered among the bewildered white-robed bearded men of Morocco in Lachish… and among the older Yemenite

figure displays a straight, balanced silhouette, a simple monastic robe falling to the ankles, and a

pendant ornament. His chest is exposed, but otherwise he is robed. The top knot on his head (urna) is

A MASSIVE LIMESTONE FIGURE OF BUDDHA The imposing standing figure wearing simple robes subtly

. Kneeling on the ground with her hands in a basket, the woman wears a teal robe and pulls her hair back with

. The complex folds of Mary’s robe and the lifelike facial expressions of the two figures reflect

folds of a robe. Every one of these hallmarks is present here. This figure holds a commanding presence

coat based on a Dragon robe from the Qing period in China, with a cut dating from the first third of

fabulous robes. I love the muted tones of the paint. The water gilt frames highlight the subject matter

Klan figures dressed in robes, disguised with menacing hoods. The concealed behavior of these pathetic

green robes holding the Christ Child and a white dove. Against a dark, atmospheric background, the

curly hair, a full beard, and draped classical robes, rendered in contrasting marbles to distinguish his

motifs in crimson, turquoise, violet, and golden yellow. Once part of a robe, the ikat textile has been

, robed garments similarly worn by both scholars and Taoists, the figure seated with both feet flatly on

contemporary artistry. The figure wears a robe of richly patterned patchwork, assembled from reclaimed

folds of their robes to the feathers of their wings. Both are depicted in the act of prayer, with

concubine; deep purple to the Emperor, and a tanned robe to the page; with specific attention to small

red robe. During the Late Middle Ages and early Renaissance, the Virgin often wore such a red

arm rested on the right knee. The figures are wearing loose robes that open at the chest to reveal an

gesturing thoughtfully with his right hand. The detailed rendering of the scholar’s long robe, buttoned

Early 20th century glazed ceramic of a robed dancer after the antique. Signed Gastin, bottom

celebrated since the late 17th century. The figure’s deep black robe contrasts elegantly with the vivid

compassion. Exquisite detailing can be seen throughout the flowing robe and across the statue, highlighting

prosperity. The fine brushwork across their robes reveals intricate floral and foliate patterns, executed

shield with an eagle design, who is draped in a robe representing the U.S. Flag. Reference: Rawls 211

traditional robes, captioned “The majesty of the law.” The restrained posture, muted tones, and elongated

the image reads: “Sir John Coleridge serves under him.” The strong vertical stance, flowing robe, and

one leg on top of the other, draped robes and a large halo. One hand is almost touching the face, the

surrounded by playful cherubs. The woman draped in flowing robes looks upward with a joyful expression as one

. Beautiful in its monochromatic palette, the work highlights the gathering of fabric in his voluminous robes

embroidered trim of their pants, the shaded folds of their robes, and the petite tea cups set upon the table

the original hand-painted design decorates the double-door front, depicting robed figures in an

wearing long green enamelled robes, with the head modeled separately and topped by a distinctive tall

historical charm. Each surface feels deliberate, from the scrolling foliage to the finely painted robe of the

elegance of traditional Chinese ceremonial art. Each figure is depicted wearing long green enamelled robes

, wearing classical pink and blue robes, holding the alabaster ointment jar she used for anointing Christ's

Buddhist tradition. The little monk’s gentle expression and carefully detailed robes highlight the

the arch into a narrow street alive with local activity. Figures dressed in traditional Moroccan robes

robes emerges from the building’s dark entrance, emphasizing the ceremonial and communal character of

color echoing their purple robes. This classic design ring features oval cabochon amethyst set in 14K

, peonies, and auspicious symbols surrounding it. Attached to the front and back of a ceremonial robe, rank

. The top row (A–D) depicts four male figures in distinctive robes and headwear. Figure A appears to

of the bishop's robes. This artifact not only represents the artistic skills of the 18th century but

across its surface. Fruit across the upper robe's sleeves and Phoenix figures to the main body. Marked to

outline and sparse graphite hatching along what might be the figure's robe. The majority of the piece is

Ecclesiastical Figure in Ceremonial Robes, circa 1400 This elegant hand-colored engraving, plate

This atmospheric portrait depicts a serene female figure, dressed in a blue robe at the edge of a

, famous for his nine paradoxes. The figure is seated with robes flowing over a classical throne while his

, ornamented robes adorned with floral and textile-like motifs. In his right hand, the figure raises a crescent

distinctive Eastern European artistry. The Bishop figures feature flowing robes, expressive faces, and the

, while a robed abstract figure in blue and violet stands to the left, lending the work a sense of

meet the *Sénator de Rome* (Roman Senator), dressed in an elaborate yellow and ivory robe with red

. The distinctive textiles, fringed robes, jewelry, bows, arrows, and weapons are drawn directly from